tag:blogger.com,1999:blog-21429385130497345512018-03-06T05:42:13.308+00:00Keith Greenough Photography - OCA Learning LogKeith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.comBlogger86125tag:blogger.com,1999:blog-2142938513049734551.post-58212115162273239572011-09-18T20:16:00.001+01:002011-09-18T20:17:50.833+01:00Reflections on the CourseI came into this course with a very limited view of what landscape photography is about. I saw landscape photography as a continuation of the tradition Romantic Landscape painting. In this view of the genre the aim is to idealise the landscape and to represent the beauty and sublime nature of the natural world. Much of my work in the early part of the course was directed at this model. My influences were photographers such as Ansel Adams, Galen Rowell and contemporary photographers such as Joe Cornish, Charlie Waite and David Noton.<br /><br />As I &nbsp;progressed through the course I discovered that the genre is so much more. The final projects about reviewing different styles were so revealing for me. I discovered the work of what I would call documentary landscape photographers. I would number the work of the photographers who took part in the New Topographics under this heading alongside contemporary photographers such as Gabriele Basilico.<br /><br />I found out more about what might be called 'post modern' &nbsp;landscape photography. The work of people like John Davies, &nbsp;John Kippin and Jem Southam where there is an underlying conceptual message within their work.<br /><br />I also discovered how landscape is used within contemporary art photography. The 'Paradise' series by Thomas Struth for example where he uses complex photographs of jungle scenes which defy reading to engage a contemplative response from the viewer.<br /><br />I feel that I have learned so much and have really enjoyed the course. My only regret is that I did not discover the broader interpretation of the genre earlier in the course. I am most proud of the work I did 'in the style of Fay Godwin' for assignment five. In this assignment I not only assumed the role of the romantic landscape photographer but also that of the documentary landscape photographer.<br /><br />Most of my portfolio to date is in the Romantic vein. Perhaps if the discussion on styles of landscape photography had challenged me earlier in the course I might have ended up in a different place. This should not be read as me not being proud of my work. I am. But I wonder if I might have taken a different direction?Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com1tag:blogger.com,1999:blog-2142938513049734551.post-34525880838722082962011-08-13T10:32:00.002+01:002011-08-13T10:37:12.022+01:00Project 42 - man made landscapesThe aim of this project is to take photographs of distinctly man made landscapes. For each image I was to decide on my clear intention with regard to the impression, information and opinion I wish to convey. Here are three images, for each I set out my intentions.<br /><br />The first image was taken in Watendlath in the &nbsp;English Lake District. It shows a bridge over the beck which is running in full flow with a wall leading into the background which has trees in autumn colour and the fells beyond. The bridge and wall are made of local stone and so meld into the landscape as if they were part of it. My intention with this image was to show how man can interact with the landscape in a sympathetic manner - man and landscape in harmony as it were.<br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-1WoE6HyQX8w/TkZAiQ0Q2wI/AAAAAAAAAa4/JZjfQC7bdXw/s1600/Project+42+-+man+made+landscapes-904569.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://4.bp.blogspot.com/-1WoE6HyQX8w/TkZAiQ0Q2wI/AAAAAAAAAa4/JZjfQC7bdXw/s640/Project+42+-+man+made+landscapes-904569.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Watendlath Beck and Pack Horse Bridge, English Lake District&nbsp;</td></tr>
</tbody></table>The second photograph was taken on the Ridgeway in Wiltshire at Segsbury Fort. In this image I how the ancient landscape of the Ridgeway and the fort have been blighted and enclosed by modern man. The fence in the foreground alludes to how the landscape in Britain is now closed off and Didcot Power Station illustrates how planning decisions for such installations are apparently not sympathetic with preserving the natural beauty and heritage of our landscape.<br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-znYKUX8tmWg/TkZCUQjqjZI/AAAAAAAAAbA/6uLUapA23ic/s1600/Project+42+-+man+made+landscapes-909746.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://1.bp.blogspot.com/-znYKUX8tmWg/TkZCUQjqjZI/AAAAAAAAAbA/6uLUapA23ic/s640/Project+42+-+man+made+landscapes-909746.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Didcot Power Station from Segsbury Fort, Wiltshire</td></tr>
</tbody></table>The final image was taken in Florianopolis in Brazil. It was taken from a high vantage point and shows how man's relentless urbanisation takes over naturally beautiful landscapes. The trees in the foreground and the distant hills give clues to the landscapes once untouched past leaving one regretting mans overwhelming influence.<br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-jqHM1zQBP8s/TkZCMQ-6dsI/AAAAAAAAAa8/3uSuBjAbCo8/s1600/Project+42+-+man+made+landscapes-3204.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="http://3.bp.blogspot.com/-jqHM1zQBP8s/TkZCMQ-6dsI/AAAAAAAAAa8/3uSuBjAbCo8/s640/Project+42+-+man+made+landscapes-3204.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Florianopolis, Brazil</td></tr>
</tbody></table><br />Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-75926494892361917862011-08-13T09:14:00.000+01:002011-08-13T09:14:20.248+01:00Project 41 - grainThe idea of this project is to explore how the use of film grain can be used creatively in landscape photography. All film has a degree of graininess but high speed black and white film is particularly noted for its significant grain - particularly when pushed. I do not generally shoot in film but it is possible to simulate grain with digital capture in a number of ways. The simplest method is to set the camera on a high ISO setting which in itself will produce a 'digital' graininess. This is not my preferred approach as I don't find the grain produced in this manner very attractive and also with digital sensors some detail is also lost at high ISO. My preference is to use a low ISO to retain resolution and detail and to add grain later using Photoshop or Lightroom. I can then control the look. To simulate the looked of 'pushed' film I also increase the contrast, clarity and sharpness of the images. Here are some comparisons based on two black and white images I shot for Assignment 5 'in the style of Fay Godwin'.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-viSgNQ-gzw0/TkYvhWRdwaI/AAAAAAAAAa0/KMpsnb-kdEM/s1600/Fay+Godwin+Grain-.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-viSgNQ-gzw0/TkYvhWRdwaI/AAAAAAAAAa0/KMpsnb-kdEM/s640/Fay+Godwin+Grain-.jpg" width="640" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />In these cases I think that the use of grain has a positive creative effect. In both of the images I selected the texture of the landscape is a feature and adding additional texture through the grain has accentuated this effect. Also the images refer to Man's relationship with the landscape by the inclusion of old or in the case of the latter image ancient man made elements. Adding grain has given the images a vintage feel and in the case of the first image has also accentuated the softness of the mist in the background enhancing the sense of mystery that this element provides.<br /><br />What this exercise has shown me is that grain can be used well for creative effect but that the reason for doing it should be carefully considered within the context of the particular image.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-45452019915059808352011-08-07T10:18:00.001+01:002011-08-13T16:54:10.732+01:00Project 37: ways of dramatising a landscapeThis project called for an evaluation of what techniques could be used to make a landscape photograph more dramatic. Here are my thoughts:<br /><br />1. Inherently spectacular subjects such as mountains, cliffs, sea stacks etc - this is very much in the vein of the work by Galen Rowell who photographed in mountainous areas of the world where the scenery was inherently dramatic. Here is an example...<br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-pJu2ErAPCFE/Tj5Gr6QUIJI/AAAAAAAAAas/IXTFZr2gg0I/s1600/Last+light+on+Horsetail+Fall%252C+Yosemite+National+Park.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-pJu2ErAPCFE/Tj5Gr6QUIJI/AAAAAAAAAas/IXTFZr2gg0I/s400/Last+light+on+Horsetail+Fall%252C+Yosemite+National+Park.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Last light on Horsetail Fall, Yosemite National Park</td></tr>
</tbody></table><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br />2. Extreme focal length of lens:very wide angle or long telephoto - here is an example of a photograph taken by David Noton using a 15mm fisheye lens which shows a wide perspective creating an image where the full extent of the bay can be appreciated adding to the drama of the scene:</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-j2NykO78yJo/Tj5Gm78DohI/AAAAAAAAAag/Y5ABUhMzLbQ/s1600/+Port+Campbell+National+Park%252C+Great+Ocean+Road%252C+Victoria%252C+Australia..jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://1.bp.blogspot.com/-j2NykO78yJo/Tj5Gm78DohI/AAAAAAAAAag/Y5ABUhMzLbQ/s400/+Port+Campbell+National+Park%252C+Great+Ocean+Road%252C+Victoria%252C+Australia..jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">&nbsp;Port Campbell National Park, Great Ocean Road, Victoria, Australia</td></tr>
</tbody></table><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>3. Rich colours at sunrise and sunset - photographing during the magic hour is perhaps the most oft used way of creating dramatic images as in this shot at dusk by David Noton:</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ZyN9vcBWCvw/Tj5Gtgd1h0I/AAAAAAAAAaw/Bins7lN01x8/s1600/Twelve+Apostles+at+dusk%252C+Port+Campbell+National+Park%252C+Great+Ocean+Road%252C+Victoria%252C+Australia.+NR.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-ZyN9vcBWCvw/Tj5Gtgd1h0I/AAAAAAAAAaw/Bins7lN01x8/s400/Twelve+Apostles+at+dusk%252C+Port+Campbell+National+Park%252C+Great+Ocean+Road%252C+Victoria%252C+Australia.+NR.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Twelve Apostles at dusk, Port Campbell National Park, <br />Great Ocean Road,&nbsp;Victoria, Australia.&nbsp;</td></tr>
</tbody></table><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>4. Backlighting - this inherently creates a dramatic image due to the high contrast nature of the resulting images. Here is a particularly dramatic image taken by Galen Rowell:</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hgC0KPxx7HA/Tj5GqNKOLgI/AAAAAAAAAao/PV5XdZ__hcI/s1600/God+beams+and+colors+of+The+Glory+through+prayer+flags+atop+Gokyo+Ri%252C+Everest+Region%252C+Nepal.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://1.bp.blogspot.com/-hgC0KPxx7HA/Tj5GqNKOLgI/AAAAAAAAAao/PV5XdZ__hcI/s400/God+beams+and+colors+of+The+Glory+through+prayer+flags+atop+Gokyo+Ri%252C+Everest+Region%252C+Nepal.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">God beams and colors of The Glory through prayer flags atop Gokyo Ri, Everest Region, Nepal</td></tr>
</tbody></table><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>5. Unusual composition - by definition this approach can inherently take many forms. Here is an example by Galen Rowell based on over-emphasising the foreground interest relative to the background:</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-eXfFwEMwyBc/Tj5Go6prWuI/AAAAAAAAAak/yXKBj_1HKIQ/s1600/Cuernos+del+Paine+at+dawn+from+Lago+Pehoe%252C+Patagonia%252C+Chile.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-eXfFwEMwyBc/Tj5Go6prWuI/AAAAAAAAAak/yXKBj_1HKIQ/s400/Cuernos+del+Paine+at+dawn+from+Lago+Pehoe%252C+Patagonia%252C+Chile.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cuernos del Paine at dawn from Lago Pehoe, Patagonia, Chile</td></tr>
</tbody></table><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>The project requires me to come up with some other examples of dramatic landscapes. Here are some thoughts:</div><div><br /></div><div>1. Reflections - lakes surrounded by dramatic scenery can create a dramatic image when on a still day the landscape is mirrored in the lake - Buttermere in the English Lake District is a great location for this type of image. Sadly on the two occasions I have been there recently it has been very windy...still conditions are a pre-requisite for this type of image.</div><div>2. Dramatic Weather - stormy weather can be very dramatic with majestic cloud conditions and strong light. An image of a storm brewing over a distant landscape is an example of this type of image.&nbsp;</div><div>3. Extended Leading lines - a shot along a beach with the sea tracing a long winding line into the distance has the potential to create a dramatic image particularly if the light and weather add to the mix.</div><div>4. Use of unusual aspect ratios - wide panoramic images with aspects ratios above 2:1 can add to the drama of a scene as they can present a perspective not normally seen by the human eye.&nbsp;</div><div>5. Using ND filters to create long exposures - this approach particularly when the photograph has elements within it which are moving can create unusual and dramatic images. This is particularly the case when capturing images of the sea or lake moving over rocks or other static elements. The water takes on a creamy texture and the impression is of movement. The same is true of rivers and streams moving over rocks.</div><div><br /></div><div>These are a few thoughts and I may add to these at a later stage as ideas come to me.&nbsp;</div><div><br /></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-17414234736373210332011-07-28T11:50:00.000+01:002011-07-28T11:50:29.954+01:00David Alan Harvey Workshop Clarksdale MississippiIt is some time now since I returned from my photo Workshop with David Alan Harvey in Mississippi. The workshop was centred in Clarksdale with the annual Juke Joint Blues Festival as a focal point of photographic interest. There were about 15 photographers on the workshop lead by David.<br /><br />David is a member of the prestigious photo agency Magnum and has had much work published by National Geographic. I admire his work greatly. Whilst his photographs are documentary in nature he places great emphasis on aesthetic quality so form is equally or more important than content per se. He shoots mostly in colour and for many years used kodachrome with its rich colour palette.<br /><br />He has become a specialist in latin countries often working in Spain and latin America. His subject matter varies from 'street' to sensitive portraits to cityscapes. He often shoots in marginal light and many of his images take on a monochromatic feel with a single colour dominating the scene. The photographs tend to ask rather than resolve questions. Here is an image which features on the cover of 'Divided Soul' one of his books which explores the culture of the latin countries he has photographed for many years.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-nnJ8uRM0SlA/TjEzfErUEWI/AAAAAAAAAaE/mdalyOhv47k/s1600/divsoul.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="422" src="http://1.bp.blogspot.com/-nnJ8uRM0SlA/TjEzfErUEWI/AAAAAAAAAaE/mdalyOhv47k/s640/divsoul.jpg" width="640" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />As can be seen the image has a green/blue hue. The man looks away to the right - what is he looking at, what is he thinking. To the right is a hat on the bench &nbsp;- who does this belong to. The benches look like church pews but there are no other signs that we are in a church. One is left questioning what the image means but at the same time it is aesthetically beautiful. This is the kind of work I aspire to produce!<br /><br />The goal of the workshop participants was to put together a joint exhibition called 'Juke' depicting the Mississippi delta and the blues. Juke is a shortened version of the term Juke Joint which is a informal private club- primarily used by african americans in the Delta &nbsp;and&nbsp;often in someone's home &nbsp;where people got together to drink, listen to music, gamble and in some cases meet prostitutes. We had a week to put together the presentation. The event turned out to be very intense. I worked 18 hours a day for seven days solid.<br /><br />Each of us on the workshop gravitated to a particular niche of the overall project. I centred on two elements - urban landscapes in black and white depicting the nature of Clarksdale which is perhaps the largest town in the northern Delta and portraits of people visiting, performing and otherwise taking part in the Juke Joint festival.<br /><br />The landscape work was inspired by my first impressions of Clarksdale. Looked at dispassionately it is a very run down place. As one walks around one seems much decay and very few if any people or activity. The place had its glory days when cotton was king - this is no more. And today most of what happens in Clarksdale takes place behind closed doors, away from the heat of the day. For the first two days I shot a number of urban landscapes attempting to capture this image of decay and emptiness. These are the four photographs which were selected for the final presentation:<br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-fOH63J6O5qI/TjE4s-ZgZHI/AAAAAAAAAaI/kbjsm5bAy9Y/s1600/Clarksdale+Urban+Landscapes.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="452" src="http://3.bp.blogspot.com/-fOH63J6O5qI/TjE4s-ZgZHI/AAAAAAAAAaI/kbjsm5bAy9Y/s640/Clarksdale+Urban+Landscapes.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Clarksdale Mississipi - David Alan Harvey Lighting the Blues Workshop 2011</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />I chose this subject matter because no one else in the group was tackling this aspect of the Delta and I felt it was an important element of the overall scene. It also followed on from the work I had done studying Robert Adams and the other photographers of the New Topographics exhibition. The downside was that it was a long way from the style of David Alan Harvey!!<br /><br />The second group of photographs were a series of portraits of performers and visitors to the Juke Joint Festival. For this I set up an impromptu studio outside the Ground Zero Blues Club in Clarksdale. I taped a sheet to the wall and invited people to step in to have their portraits taken. I was looking to capture a cross section of people taking part in what is a major event in the Delta. To begin with the light was very harsh even though I was using on and off camera flash, but then for a magical 20 minutes the sun set low in the sky, the light turned golden and the moon appeared - needless to say I got my best shots at this &nbsp;time. Here are a few.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-IyF6ZFqUY70/TjE7U9rkreI/AAAAAAAAAaM/OsmTY3CBTnc/s1600/Clarksdale+Portraits-2717.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-IyF6ZFqUY70/TjE7U9rkreI/AAAAAAAAAaM/OsmTY3CBTnc/s400/Clarksdale+Portraits-2717.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-jK0GBjp0A9c/TjE7cNtDWQI/AAAAAAAAAaQ/8-JsVRWa1MI/s1600/Clarksdale+Portraits-4519.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-jK0GBjp0A9c/TjE7cNtDWQI/AAAAAAAAAaQ/8-JsVRWa1MI/s400/Clarksdale+Portraits-4519.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-CrvB5KK9M3A/TjE7i1b75bI/AAAAAAAAAaU/ZrwNT7UnZBs/s1600/Clarksdale+Portraits-4542.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-CrvB5KK9M3A/TjE7i1b75bI/AAAAAAAAAaU/ZrwNT7UnZBs/s400/Clarksdale+Portraits-4542.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-qngjfWS9s0E/TjE7pQVHycI/AAAAAAAAAaY/-vKMpnsMiJA/s1600/Clarksdale+Portraits-4579.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-qngjfWS9s0E/TjE7pQVHycI/AAAAAAAAAaY/-vKMpnsMiJA/s400/Clarksdale+Portraits-4579.jpg" width="400" /></a></div><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-V_1-G5h2mAg/TjE7vWLurXI/AAAAAAAAAac/E_akfUPZ0sI/s1600/Clarksdale+Portraits-4608.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-V_1-G5h2mAg/TjE7vWLurXI/AAAAAAAAAac/E_akfUPZ0sI/s400/Clarksdale+Portraits-4608.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />So what did I learn from all this. First of all I learned that I have much work to do if my photography is to reach the high standards of David and indeed some other members of the Workshop. To some extent I found this a little demoralising, but on reflection I now see it as a learning experience. When shooting out on the streets as David does, I now realise that I need to anticipate situations far more effectively, and when I identify an opportunity I need to 'work it' which in David's terms means taking many many shots of the same scene as it develops until the magic moment arrives. For David a photograph has to not only be a photographically complete - it should include all the right elements in the right place, at the right time,&nbsp;with the right light - but also it should capture a moment - a look on a face, an interaction between two people, the right gesture, the right harmony between elements in the frame. It should also ask questions rather than resolve them - the viewer should be intrigued as well as aesthetically pleased. I have much to learn and this will only come with practice and by setting myself very high goals and not accepting second best!Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-44332517957901186362011-06-13T20:31:00.005+01:002011-06-13T21:50:32.393+01:00Seasons Portfolio FeedbackI have been away for a few weeks following my other hobby of triathlon racing. Whilst I was away my tutor sent through feedback on my Seasons Porfolio.<br /><br />My tutor's feedback concentrated mostly on how the photographs worked together (or not) as a cohesive presentation. I must say that I had concentrated more on preparing individual photographs rather than the overall portfolio. This I now realise was a mistake.<br /><br />My tutor commented on each of the seasons in turn, but her overriding observation was that it was not apparent that I had an underlying theme about what each season means to me visually. She also made comments on how I had sequenced the photographs. In particular she pointed out that in some cases I had presented images side by side which do not work well together and are not linked by being taken in a single season.<br /><br />Looking back the failure to consider the idea of identifying the key signifiers of each season was an oversight. This is clearly an important lesson for the long run and one which I will keep returning to as my work progresses.<br /><br />My tutor also suggested that I look at the print submission guidelines before submitting my work for accreditation. This I have done and I am reviewing options for presenting my photographs. I intend to test several different types of paper to improve my presentation.<br /><br />I have represented the portfolio giving greater thought to sequencing and cohesiveness. I have also added an explanation of how I am perceive each of the seasons visually and how my photographs demonstrate this. In the case of the winter images, sadly, I would like to completely redo the portfolio - this is a project for later in the year.<br /><br />Spring<br /><br />For me Spring is the season of rebirth. New growth appears throughout the landscape. The days get longer and the skies bluer after the darkness of winter. The predominant colours are pale greens, yellows and pale blues. The three images I have presented all show signs of new growth, brightening skies and have a colour palette of yellows, pale greens and blue.<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-tiDDUFrc4nQ/TfZw2nnuTDI/AAAAAAAAAZ0/qKUevU46CBQ/s1600/Spring+Photos.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-tiDDUFrc4nQ/TfZw2nnuTDI/AAAAAAAAAZ0/qKUevU46CBQ/s1600/Spring+Photos.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">SPRING</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Summer<br /><br />To my eyes the English summer time is a time of abundant growth (of crops, meadows and pastures, wild plants and flowers and cultivated gardens). Greens and deep yellows are the most prevalent colours. &nbsp;Sadly the source of this richness is a less attractive feature of our weather - frequent &nbsp;and heavy rainfall. It is this ironic twist which I have tried to depict in my photographs. I &nbsp;have changed one photograph from my original submission, replacing a detail shot of poppies with a broad landscape shot of the Manger near Uffington (with dark clouds looming above).<br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-C7tgI2Lqxrc/TfZymWnS4FI/AAAAAAAAAZ4/ce7Znv7-Pu8/s1600/Summer+Portfolio.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-C7tgI2Lqxrc/TfZymWnS4FI/AAAAAAAAAZ4/ce7Znv7-Pu8/s1600/Summer+Portfolio.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">SUMMER</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Autumn<br /><br />In Autumn the sun gets lower in the sky, the shadows lengthen, the colours are rich yellows, reds and golds and the foliage falls from the trees and plants. My three images embody these elements.<br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-A0hYtq8NVMk/TfZzTiWOa2I/AAAAAAAAAZ8/XN1iVrCkcFE/s1600/Autumn+Portfolio.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-A0hYtq8NVMk/TfZzTiWOa2I/AAAAAAAAAZ8/XN1iVrCkcFE/s1600/Autumn+Portfolio.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">AUTUMN</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Winter<br /><br />In my set of images I &nbsp;have depicted Winter as a time of now covered landscapes and in two of the images blue skies. The truth is that this is a cliche of the English Winter and as such I now realise that my depiction is not really how I perceive the English winter. The reality is that winter is more about dark, cold, barren &nbsp;and sometimes foreboding landscapes! I need to redo my photographs completely &nbsp;to illustrate this more realistic theme. That said I am not able to do this until later in the year and so for now my depiction of snow clad winter &nbsp;landscapes with frequent blue skies will remain.<br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-zgnjpMF36so/TfZ0RSRkuwI/AAAAAAAAAaA/81u7arG9lKU/s1600/Winter+Portfolio.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-zgnjpMF36so/TfZ0RSRkuwI/AAAAAAAAAaA/81u7arG9lKU/s1600/Winter+Portfolio.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">WINTER</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />In this revision of the presentation of my portfolio I have drawn heavily on the comments from my tutor. I have learned a significant lesson - one which I plan to put to good use in the future.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-52809246382048277222011-05-19T09:34:00.000+01:002011-05-19T09:34:18.353+01:00Seasons PortfolioMy work on the portfolio is now completed. I forwarded my photographs to my tutor a few days ago. Here are the three images for each season.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-jLoo0LCEUq8/TdTM_GVsMFI/AAAAAAAAAZs/_wS25sSJB8U/s1600/Seasons+collage-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-jLoo0LCEUq8/TdTM_GVsMFI/AAAAAAAAAZs/_wS25sSJB8U/s1600/Seasons+collage-1.jpg" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />This was a very useful exercise. It gave me lots of insight into the challenges of the different seasons. It also became abundantly clear to me why Autumn and Spring are perhaps the best times of year for landscape work. That said Winter also offers great opportunity. Summer is an all round challenge with long days, short nights, hard light and in the UK lots of green and yellow!<br /><br />The second part of the portfolio was a set of four images taken from the same place. I found this project even more instructive. I had to think very carefully about location selection and to anticipate the conditions not just at the time of shooting but also on future occasions. I learned that one has to think about how the landscape changes, how the sun moves and how the weather impacts on the scene. I even had to think about how I would access the location when the winter weather was at its worst. This was a great learning experience for improving my skills in pre-visualisation. Here are my final four images of Cobstone Hill in the Chiltern Hills.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-4F9tJ9bjGwI/TdTVPu6607I/AAAAAAAAAZw/A4PAKs0Rfj0/s1600/Cobstone+Seasons-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-4F9tJ9bjGwI/TdTVPu6607I/AAAAAAAAAZw/A4PAKs0Rfj0/s1600/Cobstone+Seasons-1.jpg" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />I await my feedback from my tutor and will post again to reflect on this.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-70901006824839554952011-05-19T08:44:00.000+01:002011-05-19T08:44:06.139+01:00Central St Martins - Art of Snapshot Photography CourseFor the last ten weeks I have been attending a night school class once a week at Central St Martins Art College in central London. I was intrigued by the aim of the course which was to help the participants to develop their personal style. The course was run by Karl Grupe who is a photographer and educator whose main business is a company called The Mango Labs.<br /><br />The course was interesting, &nbsp;fun and stimulating. I don't think I have come out the other end with a clear view of my personal signature...I have come to realise that this will come with time and only through my work....but I learned a lot.<br /><br />My key learning points from the course were...<br /><br />1. We spent a week documenting the in a Visual Diary anything which stimulated us visually...from a picture in a magazine to a piece of rubbish on the street...anything that interested was to be recorded. From this I realised that almost all my visual stimuli are from photographs taken by other photographers. I do not seem to access &nbsp;my day to day environment as a source of visual stimulus....I need to work on this.<br />2. We looked at the work of some art photographers such as Uta Barth whose work is conceptual in nature. Barth for example examines visual perception in her photographs. For example she did a series which on the face of it look like a set of out of focus images. Her intent however was to force the viewer to examine areas of the photographic frame which in many instances are out of focus...for example the background of a portrait taken with &nbsp;a fast lens wide open...My key lesson here was to open my mind to different concepts behind photographs rather than just to look at the aesthetic qualities of photographs in isolation. The photograph below is &nbsp;<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Uta Barth Field #9</span><br /><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-BWKRBc8qjYs/TZmxnjkNutI/AAAAAAAAAYs/yEBOy-_F_B8/s1600/barth.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="255" src="http://1.bp.blogspot.com/-BWKRBc8qjYs/TZmxnjkNutI/AAAAAAAAAYs/yEBOy-_F_B8/s320/barth.jpeg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"></div><div>3. We examined &nbsp;how high key and low key images can add mood to a photograph, examining the work of a number of photographers. Some interesting images here by Nick Meek who has created a signature style with high key images as in the example below:<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-IUUvDhupr2U/TdTCa_KXAcI/AAAAAAAAAZM/NLUDG3j15ZE/s1600/nick-meek-photography-exhibition-colette-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-IUUvDhupr2U/TdTCa_KXAcI/AAAAAAAAAZM/NLUDG3j15ZE/s400/nick-meek-photography-exhibition-colette-1.jpg" width="400" /></a></div><br /></div><div><br /></div><div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />4. We completed a couple of exercises to demonstrate how stimulate spontaneous and instinctive responses. One involved shooting an image every 60 seconds in a location (in our case the West End of London) - this approach is an interesting one and I felt that in certain circumstances could be quite effective. For example taking images out of a window on a rail journey could establish an interesting narrative. The second exercise was to shoot blindfold in a location which one had not previously seen. What surprised me most about this was how many usable images came out of it. Here is a sequence of three of my images which I shot blindfold in a basement car park. They have a surprising cohesiveness and sense of mystery.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-dKBTLOHSMeA/TdTEkaOxLSI/AAAAAAAAAZU/LTtEEPnM8Fc/s1600/Car+Park-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="http://3.bp.blogspot.com/-dKBTLOHSMeA/TdTEkaOxLSI/AAAAAAAAAZU/LTtEEPnM8Fc/s400/Car+Park-2.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-cW4vXZZIxKo/TdTEg3PCXxI/AAAAAAAAAZQ/BVhJ6hi5xM4/s1600/Car+Park-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="http://2.bp.blogspot.com/-cW4vXZZIxKo/TdTEg3PCXxI/AAAAAAAAAZQ/BVhJ6hi5xM4/s400/Car+Park-1.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-tfhORbVDLXk/TdTEobThkFI/AAAAAAAAAZY/XbKA_m-mXCI/s1600/Car+Park-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="http://4.bp.blogspot.com/-tfhORbVDLXk/TdTEobThkFI/AAAAAAAAAZY/XbKA_m-mXCI/s400/Car+Park-3.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />5. We undertook a project to work in the style of another photographer. This was similar to the assignments I have undertaken for the OCA courses I have completed. The key difference was that I did not get to choose the photographers. One of the photographers we were challenged to emulate was Wolfgang Tillmans - a photographer who does not appear to have a style. Here was an interesting thought - a personal style could be simply to be democratic in one's approach to photography. Some of Tillman's work is still life in nature and he captured images of photographic paper folded over so that one could not see what was on it. I liked this idea of photographing a photograph and transforming it into something else. Here is one of Tillmans works:<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-krZzfz1_qjA/TdTGY555WuI/AAAAAAAAAZc/-rx6LpLgGr0/s1600/Tillmans.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-krZzfz1_qjA/TdTGY555WuI/AAAAAAAAAZc/-rx6LpLgGr0/s320/Tillmans.jpg" width="320" /></a></div><br /><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /><br /><br /><br /><br /><br /><br /><br />And here is one of mine...it is a photograph of a portrait photograph:<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-u4yFL5XoPmA/TdTG59Z-K3I/AAAAAAAAAZg/WjCvJxeys64/s1600/Photograph-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-u4yFL5XoPmA/TdTG59Z-K3I/AAAAAAAAAZg/WjCvJxeys64/s400/Photograph-1.jpg" width="400" /></a></div><br /></div><div><br /></div><div><br /></div><div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />6. We also looked at portraiture in two of the sessions. In the first we visited the Taylor Wessing Portrait Photographer of the Year exhibition at the National Portrait Museum. It was fascinating to see the huge variety of work on display. This ranged from traditional work to much more inventive styles such as this edgy portrait of Tony Blair by Kalpesh Lathigra.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-ak6Iwy7PDuY/TdTIIgvK77I/AAAAAAAAAZk/Cl95QAk_lYs/s1600/Blair.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-ak6Iwy7PDuY/TdTIIgvK77I/AAAAAAAAAZk/Cl95QAk_lYs/s320/Blair.jpg" width="252" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />We also spent some time looking at how Diptychs can be used to explore a subject in portraiture more widely or to convey contrasts. I discovered the work of Mark Laita who has produced a series called Created Equal. This work may well prove to be a great influence on my own work as I pursue my level three studies. Here is one of Laita's Diptychs:<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-d6wYgzviZvk/TdTJHl9S18I/AAAAAAAAAZo/ZRhf2suLG98/s1600/Laita.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="403" src="http://1.bp.blogspot.com/-d6wYgzviZvk/TdTJHl9S18I/AAAAAAAAAZo/ZRhf2suLG98/s640/Laita.jpg" width="640" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />All round this course was extremely thought provoking and I came out of it with a much wider view on how photographers create their personal signature. It gave me lots of ideas for my future photography studies and work.<br /><br /><br /><br /></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-36569176992787251212011-05-08T20:07:00.000+01:002011-05-08T20:07:11.920+01:00Assignment 5 - FeedbackI was delighted to receive my feedback on Assignment Five from my tutor. I had gone to great lengths to do Fay Godwin justice in putting together my photographs for this assignment. My work covered a wide geographic area including the Ridgeway in Southern England, the English Lake District, Calderdale in West Yorkshire, Stonehenge and numerous plant nurseries with glasshouses.<br /><br />My tutor's report was very positive and it is great to have my efforts recognised. I will quote her summary in full:<br /><br /><i>"Gosh, what a lot of ground you have covered for this assignment! It was well worth the effort. This is a lovely body of work that gives a deep level of understanding of Fay Godwin's work an many layers"</i><br /><i><br /></i><br />There was only one photograph which my tutor felt was slightly off track and that was one of Didcot Power Station which is situated close to the Ridgeway. She felt that the misty conditions in which I captured my photograph was perhaps too romanticised given that it is meant to be expressing environmental concerns - this is a fair criticism. Here is the photograph:<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-PE11yYFcAOo/TcboxEvH-YI/AAAAAAAAAZI/Y96_7wwjoAk/s1600/godwin-909864.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-PE11yYFcAOo/TcboxEvH-YI/AAAAAAAAAZI/Y96_7wwjoAk/s400/godwin-909864.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Didcot Power Station from the Ridgeway</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />I have included two more images from my assignment below to illustrate my work:<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-juFmJu83k4I/Tcboqe9dGqI/AAAAAAAAAZA/jK4Q8pHF6_s/s1600/godwin-3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-juFmJu83k4I/Tcboqe9dGqI/AAAAAAAAAZA/jK4Q8pHF6_s/s400/godwin-3.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Blea Tarn and Blencathra, English Lake District</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-hqNiTAwsM20/Tcbotl-Qw8I/AAAAAAAAAZE/KyPNKa9Smh0/s1600/godwin-4816.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://4.bp.blogspot.com/-hqNiTAwsM20/Tcbotl-Qw8I/AAAAAAAAAZE/KyPNKa9Smh0/s400/godwin-4816.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Yorkshire Sculpture Park, near Barnsley&nbsp;</td></tr></tbody></table>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-70684049578429829852011-05-08T19:38:00.000+01:002011-05-08T19:38:53.236+01:00Recent Developments and WorkIt has been a few weeks since I have posted to this blog....it is not because I have been neglecting my photogaphy....<br /><br />I have been away in the USA attending a Workshop with US Magnum photographer David Alan Harvey...this was a fantastic experience and will be the subject of a full post soon.<br /><br />I have also been completing my Seasons Portfolio which I emailed to my tutor today. I have a couple more projects to polish off to finish the Landscape course and then I need to pull together all the material for my accreditation. These will be completed in the next few weeks.<br /><br />I have also completed ten week (one night per week) Art of Snapshot Photography course at Central St Martins Art College - again I will post separately on this shortly..<br /><br />So lots of influences and lots of learning and much work to do to record my progress....<br /><br />Here are some of my favourite photographs from the Seasons Portfolio....it will be interesting to see what my tutor thinks of the work.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-J_mxtQp51tw/Tcbh2rQ23bI/AAAAAAAAAYw/x-f8t2z75ZE/s1600/Seasons-.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-J_mxtQp51tw/Tcbh2rQ23bI/AAAAAAAAAYw/x-f8t2z75ZE/s400/Seasons-.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sycamore - Spring<br /></td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-JcNXfwnlH6c/TcbiCYvP6vI/AAAAAAAAAY8/qV2dNBihzlI/s1600/Seasons-908976.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-JcNXfwnlH6c/TcbiCYvP6vI/AAAAAAAAAY8/qV2dNBihzlI/s400/Seasons-908976.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beech - autumn</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-5JIpfyJtIBI/Tcbh_DxCPkI/AAAAAAAAAY4/nTQLjD2kCuY/s1600/Seasons-5913.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://1.bp.blogspot.com/-5JIpfyJtIBI/Tcbh_DxCPkI/AAAAAAAAAY4/nTQLjD2kCuY/s400/Seasons-5913.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Poppies - summer<br /></td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-qF1uvglCbgE/Tcbh6q5qlVI/AAAAAAAAAY0/wjzJvZR45bE/s1600/Seasons-1944.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://3.bp.blogspot.com/-qF1uvglCbgE/Tcbh6q5qlVI/AAAAAAAAAY0/wjzJvZR45bE/s400/Seasons-1944.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Snow - winter<br /></td></tr></tbody></table>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-43020428547300646902011-04-04T12:25:00.002+01:002011-04-04T12:40:23.622+01:00Assignment Five - in the style of Fay GodwinI have now completed my final assignment and have sent it off to my tutor today. I enjoyed it immensely as Godwin's work is quite varied, ranging from her 'romantic' black and white landscape, through her documentary work to her intimate colour landscapes.<br /><br />I will wait until my tutor comes back with my feedback before I make a full report on the assignment. I thought I would show a few of my personal favourite images so that I can compare my view with that of my tutor.....here are my top four...<br /><br />Avebury Ring Wiltshire<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-iYnpCjPKPfk/TZmqfVkdZWI/AAAAAAAAAYc/HTRskiE-RQk/s1600/Avebury+Ring%252C+Wiltshire_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-iYnpCjPKPfk/TZmqfVkdZWI/AAAAAAAAAYc/HTRskiE-RQk/s400/Avebury+Ring%252C+Wiltshire_.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Stoodley Pike Calderdale Yorkshire<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-VJHelmUrEJU/TZmrCJ7BP4I/AAAAAAAAAYg/xC-pXQd6YQA/s1600/Stoodley+Pike%252C+Calderdale%252C+Yorkshire.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-VJHelmUrEJU/TZmrCJ7BP4I/AAAAAAAAAYg/xC-pXQd6YQA/s400/Stoodley+Pike%252C+Calderdale%252C+Yorkshire.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Disused minewater treatment plant Todmorden Lancashire<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-4XvsfcZcwDA/TZmrSEYA7JI/AAAAAAAAAYk/YS13QS-9504/s1600/Abandoned+minewater+treatment+plant%252C+Todmorden%252C+Lancashire.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-4XvsfcZcwDA/TZmrSEYA7JI/AAAAAAAAAYk/YS13QS-9504/s400/Abandoned+minewater+treatment+plant%252C+Todmorden%252C+Lancashire.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Pinewood Nurseries Buckinghamshire<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-HEkuj4r76A0/TZmrrG5a1rI/AAAAAAAAAYo/poluoPPzV9I/s1600/Pinewood+Nurseries%252C+Buckinghamshire.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-HEkuj4r76A0/TZmrrG5a1rI/AAAAAAAAAYo/poluoPPzV9I/s400/Pinewood+Nurseries%252C+Buckinghamshire.jpg" width="400" /></a></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-41533228803554875422011-03-28T19:47:00.002+01:002011-04-01T09:15:02.926+01:00Influences - Gabriele Basilico<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Having had my appetite for documentary landscape photography wetted by my study of Fay Godwin's work I have continued to explore other directions landscape photography has taken outside of the romantic depiction of the landscape. In previous posts I have mentioned a few other influences - John Davies, John Kippin are two whose work has shown me how landscape photography can take on a more influential even political role. I have also been studying the work of Italian photographer Gabriele Basilico.&nbsp;</span><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Basilico is one of the best-known 'documentary' photographers in Europe.&nbsp;</span></span><br /><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><br /><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">His work, like that of John Davies is directed at the city and industrialised landscapes. He photographs mostly in black and white using a large format 5x4 camera. In his pictures modest buildings and unlikely cityscapes seem to me to become works of art. Basilico trained as an architect and this seems to have &nbsp;influenced the discipline with which he composes his photographs. His work rarely includes any human presence so one is left to ponder the buildings themselves - how they relate to one another and how they come together to create a sense of place. The image below is a picture of an apartment block in Milan. For me this representation of the building seems to give it far more grandeur and status than one my offer it when casually walking by in the street. Basilico himself likens the image to a stage set which has just been vacated by the actors - I like this interpretation. The eye is not diverted from the buildings by the presence of human interest.&nbsp;</span></span><br /><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-k2C-4241g-I/TZDPotYsUSI/AAAAAAAAAYM/jneBjBtcojg/s1600/GabrieleBasilico1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: black;"><img border="0" height="400" src="http://3.bp.blogspot.com/-k2C-4241g-I/TZDPotYsUSI/AAAAAAAAAYM/jneBjBtcojg/s400/GabrieleBasilico1.jpg" width="285" /></span></a></div><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><br /><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><br /><div class="separator" style="clear: both; text-align: center;"></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">His industrial landscapes invoke a similar sense of awe. His work is rarely romantic but this image of the port of Dunkirk is perhaps an exception - at its heart though this image is documentary in nature.</span><br /><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 16px;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-jPADEbrw3Uo/TZDUvz_ws1I/AAAAAAAAAYQ/e_q6FqGsNsQ/s1600/gabriele_basilico_09.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: black;"><img border="0" height="310" src="http://1.bp.blogspot.com/-jPADEbrw3Uo/TZDUvz_ws1I/AAAAAAAAAYQ/e_q6FqGsNsQ/s400/gabriele_basilico_09.jpg" width="400" /></span></a></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 16px;"><br /></span><br /><div class="separator" style="clear: both; text-align: justify;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">His technique is impeccable and the large format movements enable him to straighten the verticals and keep all elements in focus.&nbsp;</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 16px;"><br /></span></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 16px;"></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">The work of John Davies and Gabriele Basilico has lead me to consider a future photographic project in which I would document how the post industrial economy has impacted on the landscape of Doncaster &nbsp;- the old mining town where I was born. With the closure of the mines the town is now dependent on shopping malls, call centres, warehouses etc....I would like to capture images showing how this has changed the town by capturing images with both the old industrial and the new post industrial architecture....now sure how feasible this is but it is certainly an idea for me to pursue. Here are a couple of my exploratory images of the old Doncaster....</span><br /><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 16px;"><br /></span></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-wcDmSvM2CmY/TZDWaldskiI/AAAAAAAAAYU/jJxHaJ2WgDQ/s1600/Doncaster+Architecture-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: black;"><img border="0" height="267" src="http://3.bp.blogspot.com/-wcDmSvM2CmY/TZDWaldskiI/AAAAAAAAAYU/jJxHaJ2WgDQ/s400/Doncaster+Architecture-3.jpg" width="400" /></span></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-omV7GhDBbPs/TZDWb3HCXaI/AAAAAAAAAYY/Qv8qN1Yamek/s1600/Doncaster+Architecture-6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="color: black;"><img border="0" height="267" src="http://1.bp.blogspot.com/-omV7GhDBbPs/TZDWb3HCXaI/AAAAAAAAAYY/Qv8qN1Yamek/s400/Doncaster+Architecture-6.jpg" width="400" /></span></a></div><span class="Apple-style-span" style="color: #333333; font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 16px;"><br /></span></span>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com2tag:blogger.com,1999:blog-2142938513049734551.post-25528099383715966642011-03-28T18:53:00.000+01:002011-03-28T18:53:50.553+01:00We Are OCAI have become involved in a number of discussion streams on the Photography Feed of We Are OCA. I have found this a great food for thought and by participating in the discussions have found myself having to think more coherently about my views on a wide range of photographic subjects. The blog has been considering issues ranging from the link between documentary and art photography, street photography, the work of Cindy Sherman. I will continue to participate in this blog and engage with my fellow students and our tutors who take a lead role in stimulating this activity.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-58791101093834456512011-03-13T11:07:00.003+00:002011-03-14T10:19:20.316+00:00Format Derby 2011<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Yesterday I attended an OCA organised visit to The Format Photographic Festival in Derby. The event was well attended with 15 students and four OCA staff/tutors. It was a great opportunity to talk to others about their work and to gain valuable insights from the tutors Jose Navarro and Clive White.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">The theme of the Festival was 'Right Here, Right Now' Exposures from the public realm - essentially it was dedicated to street photography. As some of my favourite photographers were exhibiting - Alex Webb, Constantine Manos, Joel Meyerowitz - I had a great day.&nbsp;<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">To begin with we visited the Quad Gallery where a great variety of street photographers were on display from all parts of the globe - UK, China, USA, Eastern Europe and the Middle East.&nbsp;<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">My eye was immediately caught by the Joel Meyerowitz photographs by the entrance. What was particularly interesting for me was to see how his work had moved on from black and white street work, to colour on the street and then to the use of Large Format for his more recent portrait studies - a photographer must keep moving seems to be the message!<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">I spent quite a lot of time at the exhibition and had the opportunity to reflect on what drew me to particular photographers. Strong colour and constrast are certainly aesthetic factors, but it I was most taken by those photographers who had drawn their work together under a distinct theme which had some substance to it. My particular favourites on the day were:<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- Frederic Lezmi's travelog of a journey from Austria to Beirut. I thought the way the photographs had been arranged as a continuous film-like display worked really well. These two photographs taken through windows both have a sense of mystery about them but both also portray their central characters so well - the strong mature business woman and the beautiful young maid.<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh6.googleusercontent.com/-9yfwokVCDmY/TXyjig2Lz4I/AAAAAAAAAXk/vkVUfXaBwY4/s1600/Lezmi+bucharest.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://lh6.googleusercontent.com/-9yfwokVCDmY/TXyjig2Lz4I/AAAAAAAAAXk/vkVUfXaBwY4/s400/Lezmi+bucharest.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-sSSaBUnjd1c/TXyjui6kw2I/AAAAAAAAAXo/VEGcWMTQrBE/s1600/Frederic+Lezmi+woman.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://lh3.googleusercontent.com/-sSSaBUnjd1c/TXyjui6kw2I/AAAAAAAAAXo/VEGcWMTQrBE/s400/Frederic+Lezmi+woman.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><o:p><br /></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- George Georgiou's exploration of Turkey's modernisation and national identity also held my attention. I felt drawn back to the images to look deeper into them.<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh4.googleusercontent.com/-f_m-59ZTRnE/TXyj7ygsrEI/AAAAAAAAAXs/56vg3OCvoaA/s1600/Georgiou.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://lh4.googleusercontent.com/-f_m-59ZTRnE/TXyj7ygsrEI/AAAAAAAAAXs/56vg3OCvoaA/s400/Georgiou.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- Dougie Wallace's reflections on life which showed a series of faces of people on trams about to depart - most are lost in thought leaving one to wonder what this person is about. The images are from all over the globe.<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-aZ8HmXDcMEI/TXykFKcSUZI/AAAAAAAAAXw/_9Wj-P1durE/s1600/Dougie+Wallace+lviv+sept2010+blake71024.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://lh3.googleusercontent.com/-aZ8HmXDcMEI/TXykFKcSUZI/AAAAAAAAAXw/_9Wj-P1durE/s400/Dougie+Wallace+lviv+sept2010+blake71024.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- Zhiang Xiao whose image depict the Chinese coastline - one can see the increasing development and westernisation but the spirit of the people appears to remain intact. &nbsp;Often the images which contain much information have curious and amusing details within them - the man with the spotted sunburned back, the lady swimming in her dress and such like. The matrix arrangement of the photographs also intrigued - one was tempted to connect the images but left wondering about how to do this.<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh6.googleusercontent.com/-OjzsfDwQDAQ/TXykY8p67NI/AAAAAAAAAX0/j1PjsUcyXTg/s1600/Coastline+No.3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://lh6.googleusercontent.com/-OjzsfDwQDAQ/TXykY8p67NI/AAAAAAAAAX0/j1PjsUcyXTg/s400/Coastline+No.3.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Jose had also asked us to look at the work by British photographer Peter Dench who has been documenting British society in the 21st century. He describes his work as&nbsp;&nbsp;'explore[ing] all four corners documenting ethnic diversity, the miserable weather and the many characters [he] met along the way'. to be honest I did not like his work. I felt it was unbalanced, focusing on the worst elements within society often exploiting his subjects at times when they were under stress or at times of weakness, e.g. people living on the streets, people injured in car accidents drunken people etc. His work is similar in some ways to that of Martin Parr but lacks Parr's wit and satirical power in my view. Here is an example of his photography.<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh4.googleusercontent.com/-7pr7X83RYAE/TXyko6Z81tI/AAAAAAAAAX4/adIys1i4uOs/s1600/smallPDench_Format12.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="317" src="https://lh4.googleusercontent.com/-7pr7X83RYAE/TXyko6Z81tI/AAAAAAAAAX4/adIys1i4uOs/s400/smallPDench_Format12.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">We moved from the Quad Gallery to the 'Take to the Streets' exhibition of leading Magnum photographers which is an outdoor exhibit in the square in front of the Quad. As I mentioned at the start of this post, some of my favourite photographers were on show. This exhibition only served to reinforce my opinion of their work. Two stood out for me:<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- Alex Webb &nbsp;has &nbsp;a very personalised style based on the strong use of colour and contrast. Many of his images are complex compositionally and often he will break up the frame into components using doors, windows, archways shadows etc. Each element then seems to develop a life of its own leading to a multilayered reading of the images. His work is visually attractive and intriguing.<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-O_JtyLAZnHU/TXykx-N7uQI/AAAAAAAAAX8/RwJjTN7w9bs/s1600/Webb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://lh3.googleusercontent.com/-O_JtyLAZnHU/TXykx-N7uQI/AAAAAAAAAX8/RwJjTN7w9bs/s400/Webb.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- Constantine Manos's work American Colour is brilliantly conceived in my view. His subjects are people in the streets, but in reality the actual subject is the colour itself. This he finds in abundance in Florida where most of the images are taken. What is also interesting is that one rarely sees the faces of the people in the photographs. They could be wearing sunglasses, be in shade, be turned away, be cropped out etc. This mitigates any sense of exploitation in his photographs and emphasises that the real subject is the colour itself.<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh6.googleusercontent.com/-wD0n9ptLZWQ/TXyk72YmIEI/AAAAAAAAAYA/xFDTmIZ9POI/s1600/Manos.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://lh6.googleusercontent.com/-wD0n9ptLZWQ/TXyk72YmIEI/AAAAAAAAAYA/xFDTmIZ9POI/s400/Manos.jpg" width="400" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">From the Magnum show we went on to the Derby Museum and Art Gallery. The main exhibits that grabbed my attention was the Bruce Gilden work and the In-Publik movie.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- Bruce Gilden has a very distinctive and intrusive style of street photography. He gets up close and personal with his subjects and to cap it off uses a flash to capture them like rabbits in headlights! I watched the movie of him working and it was clear that some of his subjects were less than happy about his approach and felt singled out and victimised. This reinforced my view that my own style should be based on a sympathetic approach to my subjects not a confrontational one. Whilst I feel that many of his images have a strong powerful impact I was slightly disturbed by his approach and do not count myself as a fan of Gilden's work.&nbsp;<o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh6.googleusercontent.com/-Yky8ZsiShdg/TXylFBUZT2I/AAAAAAAAAYE/dN32DAbVO2I/s1600/Gilden.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://lh6.googleusercontent.com/-Yky8ZsiShdg/TXylFBUZT2I/AAAAAAAAAYE/dN32DAbVO2I/s400/Gilden.jpg" width="262" /></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">- The In-Publik movie gave a great insight into the thinking of many well regarded street photographers. I took away a numerous thoughts about what they try to achieve with their work....<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">...humourous juxtaposition - Nick Turpin<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">...moments of magic - David Gibson<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">...drama in everyday life - David Solomons<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">...the world is a beautiful place - Richard Bram<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">...find structure in situations that are out of control - Gus Powell<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Essentially though they are all looking for those 'moments of magic' in everyday life...this seems a great credo for street photography<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Our final port of call was MOB Format HQ. Here was the headquarters of the Festival and also the exhibition of work submitted by members of the public. The organisers have set out six themes under which photographs should be submitted:<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; mso-text-indent-alt: -36.0pt; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -36.0pt;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Street Surreal&nbsp;&nbsp;<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; mso-text-indent-alt: -36.0pt; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -36.0pt;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Shoot from the hip&nbsp;&nbsp;<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; mso-text-indent-alt: -36.0pt; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -36.0pt;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Decisive moment&nbsp;&nbsp;<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; mso-text-indent-alt: -36.0pt; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -36.0pt;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">In the crowd<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; mso-text-indent-alt: -36.0pt; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -36.0pt;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">Street noir&nbsp;&nbsp;<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; mso-text-indent-alt: -36.0pt; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -36.0pt;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">When worlds collide&nbsp;<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; mso-text-indent-alt: -36.0pt; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -36.0pt;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">These are an excellent structure for thinking about developing a style in street photography and is one which I plan to think about in terms of my own style.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">So I had a great day but what did I learn. The key points for me to reflect on are:<o:p></o:p></span><br /><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;"><br /></span></div><div class="MsoListParagraphCxSpFirst" style="mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -18.0pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 16pt;">·<span style="font: normal normal normal 7pt/normal 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">I have strong preference for colour and contrast - I will probably base my own work around this approach<o:p></o:p></span></div><div class="MsoListParagraphCxSpMiddle" style="mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -18.0pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 16pt;">·<span style="font: normal normal normal 7pt/normal 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">I do not like exploitative street photography - my aim is not to poke fun at people but to find those 'moments of magic'<o:p></o:p></span></div><div class="MsoListParagraphCxSpMiddle" style="mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -18.0pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 16pt;">·<span style="font: normal normal normal 7pt/normal 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">I prefer work where there is an evident linking them....almost a photo essay approach. This theme need not be about the people in the scene it could be something else like Manos's work with colour<o:p></o:p></span></div><div class="MsoListParagraphCxSpMiddle" style="mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -18.0pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 16pt;">·<span style="font: normal normal normal 7pt/normal 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">I need to avoid forcing myself down the track of other photographers. I need to keep shooting and to allow my style to come through naturally<o:p></o:p></span></div><div class="MsoListParagraphCxSpMiddle" style="mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -18.0pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 16pt;">·<span style="font: normal normal normal 7pt/normal 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">I need to take all opportunities to mix with other photographers!!<o:p></o:p></span></div><div class="MsoListParagraphCxSpLast" style="mso-layout-grid-align: none; mso-list: l1 level1 lfo2; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none; text-indent: -18.0pt;"><span lang="EN-US" style="font-family: Symbol; font-size: 16pt;">·<span style="font: normal normal normal 7pt/normal 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><span lang="EN-US" style="font-family: 'Times New Roman'; font-size: 16pt;">I need to keep learning and keep an open mind!!<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: x-large;"><span class="Apple-style-span" style="font-size: 21px;"><br /></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br /></div><div class="MsoNormal" style="text-align: justify;"><br /></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com1tag:blogger.com,1999:blog-2142938513049734551.post-4637263151685118582011-03-11T08:52:00.000+00:002011-03-11T08:52:34.177+00:00Project 36 - defining a style - Robert AdamsMy review of Fay Godwin's work and in particular her 'My Forbidden Land' and 'The Edge of the Land' has lead me to broaden my view of landscape photography beyond one of celebrating the beauty of the landscape to its role in documenting man's influence (often adverse influence) on the land. The 1975 exhibition 'New Topographics: Photographs of a Man-altered Landscape' at George Eastman House International Museum Rochester New York USA was a major milestone for this style of critical landscape photography.<br /><br />The exhibition showed the work of a number of contemporary photographers who were working on documenting how man was impacting on the landscape. Nine photographers (or photographic duos) were featured - Robert Adams, Lewis Balz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel Jr.&nbsp;The work of these photographers and in particular their detached documentary style threatened to undermine Modernists efforts over generations to establish photography's expressive capability. This&nbsp;quotation from William Jenkins the curator of the exhibition illustrates the point, &nbsp;"..[by taking] great pains to eliminate the slightest trace of judgement or opinions from entering their work... photographers can foster ambiguity around the very issue of attachment: the picture's attachment to the world, the makers attachment to a particular subject, and the viewers attachment to the transparency of both these relationships".<br /><br />My 100 word synopsis of Robert Adams style follows below:<br /><br />Robert Adams was born in 1937 in New Jersey USA. His photographic practice is largely landscape work. He became interested in documenting the influence of man on America's western landscapes. His work is largely in black and white. He began by using 35mm he moved on to large format 10x8 camera. His images are deadpan representations of what he found. Very often he shows the encroachment of low grade housing on the wilderness, with the dwellings in the foreground and grand mountain vistas beyond. Whilst understated his images are carefully composed and perfectly executed. His detachment allows the viewer to form his/her own view on what is being presented. This book cover from <i>The New West</i>&nbsp;illustrates his style.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://lh4.googleusercontent.com/-E1vN0hRsoVc/TXniKfgdxUI/AAAAAAAAAW8/qeNksOU2PhM/s1600/artbook_2145_443228178.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="370" src="https://lh4.googleusercontent.com/-E1vN0hRsoVc/TXniKfgdxUI/AAAAAAAAAW8/qeNksOU2PhM/s400/artbook_2145_443228178.jpeg" width="400" /></a></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-8004549489684570222011-03-08T20:24:00.001+00:002011-03-11T08:55:29.023+00:00Project 36 - defining a style - Marc GarangerMarc Garanger is a French photojournalist. His work Louisiane Entre ciel et terre presents Garanger's photographs of the state of Louisiana in the USA. It was produced in 1989 and was commissioned by Kodak as a trial for its new Ektar colour film. The photographs depict the people and the landscape of the state. My analysis of Garanger's style is based on his landscape work.<br /><br />Garanger's images are characterised by their strong contrast and rich colour. He often shoots contre jour with dramatic effect and makes great use of the 'magic hours' around sunrise/sunset. Many of the images have an abstract feel with shapes being defined by areas of light and shadow. Most have a limited colour palette with rich greens and browns predominating. The Ektar film seems to have a brown tinge which adds atmosphere to the images. The photographs are shot in 35mm and have a spontaneity about them with relatively loose framing. Garanger uses his landscape work to provide context for his wider documentary photography. Here is a photograph (cropped from the original in the book) which shows the rich colour palette - I was unable to find any other work on line sadly.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-vnYCapOvvt4/TXaQGLqc3mI/AAAAAAAAAW4/97KooajKPGc/s1600/DSC07447.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="480" src="https://lh3.googleusercontent.com/-vnYCapOvvt4/TXaQGLqc3mI/AAAAAAAAAW4/97KooajKPGc/s640/DSC07447.jpg" width="640" /></a></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-52692820600669083172011-02-26T08:59:00.000+00:002011-02-26T08:59:34.947+00:00Project 36 - defining a style - Joel Meyerowitz<!--StartFragment--> <br /><div class="MsoNormal"><span style="mso-ansi-language: EN-GB;">Meyerowitz is best known for his New York street photography, where he worked alongside Winogrand. In the late 70s he began to explore colour and experimented with large format. His seminal work 'Cape Light' is illustrative of this change in style. The images are still and serene - contrasting greatly with the rough and tumble of his street photography. The concentration is on the colour of light and atmosphere. The work has a romantic quality and shows a great sensitivity to changing light conditions particularly around twilight. His subjects vary from buildings to people to seascapes. The Bay/Sky Provincetown series in which he explores changing light conditions on the same landscape are particularly intriguing. Here is an example with delicately contrasting blues and yellows.<o:p></o:p></span></div><div class="MsoNormal"><span style="mso-ansi-language: EN-GB;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh5.googleusercontent.com/-dC6NlqDV53s/TWjAh-3N66I/AAAAAAAAAW0/jXZptJZndAc/s1600/meyerowitz_baysky.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="313" src="https://lh5.googleusercontent.com/-dC6NlqDV53s/TWjAh-3N66I/AAAAAAAAAW0/jXZptJZndAc/s400/meyerowitz_baysky.jpg" width="400" /></a></div><div class="MsoNormal"><span style="mso-ansi-language: EN-GB;"><br /></span></div><!--EndFragment-->Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-67379212094492864292011-02-26T08:23:00.001+00:002011-03-08T19:47:14.760+00:00Project 36 - defining a style - John DaviesThis is the first of four posts where I will present a brief synopsis of the style of four landscape photographers as part of Project 36 - defining a style. This post is about British photographer John Davies.<br /><br /><div class="MsoNormal" style="text-align: justify;">John Davies is a British photographer who specialises on urban landscapes. He <span lang="EN-US">shows urban development through a multi-layered perspective. His images usually taken from a high vantage point reveal the history of the area by including buildings/structures from different eras. His compositions are classically framed and perspective is finely controlled through the movements of his large format camera. His photographs appear understated, allowing the viewer to make his/her own judgments. He accompanies his photographs with text to direct the reading of his images. His work has been recording Britain's transition from the industrial to the post industrial. This is a photograph from 'Cities on the Edge'. It shows how Liverpool's historic waterfront has been transformed by modern development.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh5.googleusercontent.com/-4gkBIEK5bKA/TWi35BZ0NaI/AAAAAAAAAWw/bdq9cQ_bWYw/s1600/john-davies-westtower.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="311" src="https://lh5.googleusercontent.com/-4gkBIEK5bKA/TWi35BZ0NaI/AAAAAAAAAWw/bdq9cQ_bWYw/s400/john-davies-westtower.jpg" width="400" /></a></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><br /></span></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-10211164391616554032011-02-18T08:23:00.000+00:002011-02-18T08:23:24.205+00:00project 25 - shooting the moonThis is a catch up post. I have been waiting for some time to complete the projects involving shooting the moon and capturing images by the light of the moon. What this exercise has shown me is that the moon can &nbsp;be elusive. Clearly the full moon is the ideal circumstance for maximum illumination and this follows a monthly cycle. It is often the case that the weather - clouds - intervene to obscure the moon at the time it is full. So it is essential to plan ahead and previsualise images so that when the conditions are right one can &nbsp;go straight for the anticipated shot.<br /><br />Last night I took a few shots directly of the full moon. I have some large scottish pines in my garden and my hope was that I would include these in the shot to provide foreground interest. I set my camera up with a long lens - 35mm equivalient of 450mm. I started with an exposure of f/8 at 1/250 as recommended in the course notes. The result was very dark. This was probably because there was some light cloud cover obscuring the moon. It was very surprising how much this reduced the exposure. My best image needed a &nbsp;full five stops more - f/8 at 1/8. Here is the shot.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-wojhz0DGxeI/TV4rdld_BqI/AAAAAAAAAWs/E39DlQgUQB4/s1600/Project+25+Shooting+the+Moon-1543.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="425" src="http://3.bp.blogspot.com/-wojhz0DGxeI/TV4rdld_BqI/AAAAAAAAAWs/E39DlQgUQB4/s640/Project+25+Shooting+the+Moon-1543.jpg" width="640" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />I was pleased that the surface detail on the moon is visible. Craters can be seen on the outer profile. Sadly the pine trees are lost in the shadows. From this I learned that the foreground interest needs some illumination if it is to be captured - like the image of Tower Bridge in the notes. I hope to be able to take a few more shots over the next few days but the weather forecast is cloudy - as I said shooting the moon is illusive!Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-28108010240026548792011-02-13T09:04:00.000+00:002011-02-13T09:04:02.124+00:00Project 35 - polarising filterThe second project dealing with filters concerned the use of polarising filters. The idea was to explore the effects of shooting with a filter using both a standard lens and a wide angled lens.<br /><br />I took some shots on the seafront at Puerto del Carmen in Lanzarote. Here is the two shots with the standard lens - the first is with the filter adjusted to show more detail in the sky, the second is with the filter rotated to reduce the polarising effect.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-J7OXbjgSNuI/TVea8DU_GfI/AAAAAAAAAWY/my2NvTQPBpQ/s1600/Polariser-1040380.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="http://4.bp.blogspot.com/-J7OXbjgSNuI/TVea8DU_GfI/AAAAAAAAAWY/my2NvTQPBpQ/s400/Polariser-1040380.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-J8M6BVEhQqc/TVebJL-nHUI/AAAAAAAAAWc/eOdcpdSoBcY/s1600/Polariser-1040379.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="http://2.bp.blogspot.com/-J8M6BVEhQqc/TVebJL-nHUI/AAAAAAAAAWc/eOdcpdSoBcY/s400/Polariser-1040379.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />It can be clearly seen that with the polariser the sky and the sea are a deeper blue as the reflections have been reduced. The cloud definiton is also much more distinct. The poloariser is clearly demonstrated as a great way of adding depth and saturation to colours in a scene.<br /><br />Using a wide angled lens with the polariser was the next objective. Here is my image:<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-UKq7ro2j2vc/TVeb8AvKZwI/AAAAAAAAAWg/Fg-fNiUH3dI/s1600/Polariser-1040383.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="http://3.bp.blogspot.com/-UKq7ro2j2vc/TVeb8AvKZwI/AAAAAAAAAWg/Fg-fNiUH3dI/s400/Polariser-1040383.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />The lens used was a 28mm lens which is not superwide. Nevertheless one can see some lightening of the &nbsp;blue of the sky towards the right of the image. With more extreme wide angles this might become more pronounced and means that a polariser must be used with care with wider angled lenses to avoid creating &nbsp;uneven and hence unreal skies.<br /><br />The final test was to explore how a polariser can be used to reduce glare from the reflections from a water surface. For this I used a rock pool as my subject. The first image shows the rock pool with no polariser.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-dhVJpNH3Xfc/TVedH2hvslI/AAAAAAAAAWk/_EC02wPGaPw/s1600/Polariser-1040395.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="http://3.bp.blogspot.com/-dhVJpNH3Xfc/TVedH2hvslI/AAAAAAAAAWk/_EC02wPGaPw/s400/Polariser-1040395.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />This image is clearly very high contrast with specular highlights in the water and no detail of what is below the surface. The extreme highlights in the water have also thrown the rocks around the pool into shadow. Now with the polariser the scene is transformed.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-EiQKtqXB5Dg/TVedtA99vPI/AAAAAAAAAWo/j6g9HO4YdZU/s1600/Polariser-1040394.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="http://4.bp.blogspot.com/-EiQKtqXB5Dg/TVedtA99vPI/AAAAAAAAAWo/j6g9HO4YdZU/s400/Polariser-1040394.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />The scene is transformed. It almost looks as if there is no water pool. The contrast is much reduced. The lesson is clear that the polariser can be used to effectively reduce glare from the surface of water and reveal what is in the water but care needs to be used to ensure that the presence of the water is still clear.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-85757573610392854332011-02-08T18:00:00.000+00:002011-02-08T18:00:30.537+00:00Projects 34 & 35 - FiltersThese projects are about using filters to enhance contrast and colour within an image. The filters under study are Neutral Density Graduated filters (which can be used to darken the part of the frame to reduce contrast) and polarising filters (which can be used to reduce glare and deepen colours).<br /><br />The first set of images were taken to test out the use of ND Grad filters. In fact I have been using these filters for about 18 months now and they are excellent for reducing contrast in order to retain either shadow or highlight detail. I have not however made a systematic comparison of using these filters with different lenses and f stops.<br /><br />The first three images compare a scene at Famara Beach in Lanzarote &nbsp;- the sky was overcast with cloud detail visible . Image one is wide open no filter, the second is wide open using a 0.6 Graduated filter and the third is stopped down with the filter.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TVF89IwDZeI/AAAAAAAAAVs/LfbHa5u9dts/s1600/Projects+34+%2526+35-1040276-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TVF89IwDZeI/AAAAAAAAAVs/LfbHa5u9dts/s320/Projects+34+%2526+35-1040276-2.jpg" width="212" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_C1f_61nnzDo/TVF8_blB0aI/AAAAAAAAAVw/oqBSROXtOJE/s1600/Projects+34+%2526+35-1040279-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/_C1f_61nnzDo/TVF8_blB0aI/AAAAAAAAAVw/oqBSROXtOJE/s320/Projects+34+%2526+35-1040279-2.jpg" width="212" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TVF9BYWcjrI/AAAAAAAAAV0/EGJIsbjvyPQ/s1600/Projects+34+%2526+35-1040282.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TVF9BYWcjrI/AAAAAAAAAV0/EGJIsbjvyPQ/s320/Projects+34+%2526+35-1040282.jpg" width="212" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Using the filter clearly brings out the detail of the cloud formations, but it also in this case reduces the overall contrast. With a cloudy sky this has resulted in a very flat image using the filter. In this situation there are clearly pros and cons of using a filter as the contrast range was workable without the filter - something to think about when on location - I have noticed that the contrast range of some of my shots when using filters has been very compressed.<br /><br />I looked at a detail of these images to find out if stopping down made the edge of the graduated filter more visible with the greater depth of field created by stopping down. These are the comparisons. Wide open is the first and stopped down is the second...<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TVF_oyXfuZI/AAAAAAAAAV4/ZKEfy0HRF_g/s1600/Projects+34+%2526+35-1040279.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TVF_oyXfuZI/AAAAAAAAAV4/ZKEfy0HRF_g/s320/Projects+34+%2526+35-1040279.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_C1f_61nnzDo/TVF_riDjbzI/AAAAAAAAAV8/RzUZUZMNsAM/s1600/Projects+34+%2526+35-1040282-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/_C1f_61nnzDo/TVF_riDjbzI/AAAAAAAAAV8/RzUZUZMNsAM/s320/Projects+34+%2526+35-1040282-2.jpg" width="320" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Frankly I can see no difference in these two and I have been told that this is most likely to be the case if one uses high quality filters. My filters are Lee Filters which have the reputation of being the best around....good idea to buy the best filters it seems.<br /><br />I also made some comparisons in different light conditions. These shots were taken at Famara in Lanzarote - this time looking inland towards the mountains and an old building. A large part of the sky was very featureless. The first image is without a filter and the second is with.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_C1f_61nnzDo/TVGA14B4wkI/AAAAAAAAAWE/wGW3U4FZr6A/s1600/Projects+34+%2526+35-1040300.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/_C1f_61nnzDo/TVGA14B4wkI/AAAAAAAAAWE/wGW3U4FZr6A/s320/Projects+34+%2526+35-1040300.jpg" width="320" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGAzYOIacI/AAAAAAAAAWA/XoSX1SLiW4M/s1600/Projects+34+%2526+35-1040297.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGAzYOIacI/AAAAAAAAAWA/XoSX1SLiW4M/s320/Projects+34+%2526+35-1040297.jpg" width="320" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />In this case the filter has revealed some texture in the clouds which works well but once again the contrast is lowered and I am not sure I like this.<br /><br />The next two shots were taken into a sunset with some blue sky and cumulus clouds. Again the shot without the filter is presented first.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGB5D-7YzI/AAAAAAAAAWI/ts_O0cImPIs/s1600/Projects+34+%2526+35-1040353.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGB5D-7YzI/AAAAAAAAAWI/ts_O0cImPIs/s400/Projects+34+%2526+35-1040353.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGCKu4SCvI/AAAAAAAAAWM/gU4QK_jAHbU/s1600/Projects+34+%2526+35-1040350.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGCKu4SCvI/AAAAAAAAAWM/gU4QK_jAHbU/s400/Projects+34+%2526+35-1040350.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />In this situation with a much higher contrast ratio between sky and land the filter has worked really well. The sky is well exposed and shadow detail is still visible in the foreground wall and beach - the lesson from this seems to be that I need to establish what the contrast ratio is first and then decide when to use a filter...previsualisation seems to be the key. When in doubt I might also shoot with and without a filter to create options for later processing.<br /><br />The final test I made was to see whether the ND Grads worked as well with a medium telephoto. These two images show a comparison taken with a lens of 90mm (35mm equivalent). The first without a filter and the second without.<br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_C1f_61nnzDo/TVGDWlSuWcI/AAAAAAAAAWQ/jfCN9Rg98fo/s1600/Projects+34+%2526+35-1040336.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="http://4.bp.blogspot.com/_C1f_61nnzDo/TVGDWlSuWcI/AAAAAAAAAWQ/jfCN9Rg98fo/s400/Projects+34+%2526+35-1040336.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGDprzc2LI/AAAAAAAAAWU/lCJbrF51F0s/s1600/Projects+34+%2526+35-1040337.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="223" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TVGDprzc2LI/AAAAAAAAAWU/lCJbrF51F0s/s400/Projects+34+%2526+35-1040337.jpg" width="400" /></a></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />I could not see any deterioration in performance with the longer lens and the filter has worked well in this situation to hold back the sky and reveal shadow detail in the wall in the foreground.<br /><br />So the key lessons for using Graduated ND filters are to use high quality filters, in overcast conditions to consider what is more important - highlight detail or higher contrast, to bracket exposures when not sure to provide options in post processing.<br /><br />I will post my findings on polarising filters in a separate post in the next few days.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-25716965218108091992011-01-24T08:40:00.001+00:002011-01-24T08:46:04.205+00:00Project 36 - Defining a StyleI have been preparing materials, largely getting hold of books, to carry out my description of the style of four photographers for Project 36. I have selected the following:<br /><br />Robert Adams - source book <i>New Topographics</i><br />John Davies - source book <i>Cities on the Edge</i> (I really would have preferred to study <i>The British Landscape</i> but this book is very &nbsp;expensive)<br />Joel Meyerowitz - source book <i>Cape Light</i><br />Marc Garanger - source book <i>Louisiane</i><br /><i><br /></i><br />I am really looking forward to this review....these photographers all have a very different style and subject focus which will help give me some insight in how to go about carving out a style.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-10362458415383322362011-01-24T08:01:00.000+00:002011-01-24T08:01:55.215+00:00Assignment Four a critical review of Fay GodwinI have now completed my review of Fay Godwin and submitted my full text to my tutor. I enjoyed this assignment. It was interesting to study a landscape photographer who was also a documentarist. I also learned quite a bit about developing a style. I have included part of the text from my assignment below. This deals with a description of her work.<br /><br /><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">For the purposes of this review I have focused on Godwin's landscapes. This is consistent with scope of the Photography 2: Landscape course. As such I have not commented on her early literary portrait and later colour documentary work around West Yorkshire. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">To familiarise myself with Godwin's early landscape work, I have reviewed her first guidebook to the Ridgeway. The reproduction of the images in the book is quite poor, but her abilities as a documentary landscape photographer are nevertheless clear. Many of the images might be regarded as workmanlike, but some are atmospheric photographs in the style that became her trademark.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i>Moonlight Avebury 1974</i></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_C1f_61nnzDo/TT0uFGR37oI/AAAAAAAAAU4/6kuj6YBFzrg/s1600/moonlight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="http://1.bp.blogspot.com/_C1f_61nnzDo/TT0uFGR37oI/AAAAAAAAAU4/6kuj6YBFzrg/s400/moonlight.jpg" width="400" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><o:p><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">&nbsp;</span></o:p></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Moonlight Avebury 1974 </span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">from the guide has become one of her best-known images, of which critic Philip Stokes said </span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">"…of all Fay Godwin's photographs there is none which more quintessentially represents longstanding British tradition of viewing the land while manifesting the appearance of its subject at the moment of taking".</span></i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">&nbsp;</span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Her images are known for their clarity, careful composition and control over tonal values. I have witnessed this first hand by visiting two current exhibitions of her work: 'Paul Nash and Fay Godwin' at the Graves Gallery Sheffield &nbsp;and&nbsp; 'Land Revisited' at the National Media Museum. &nbsp;<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The former exhibits her work from 'Remains of Elmet' and her photographs are displayed alongside the poems of Ted Hughes. As Ian Jeffrey states in his introduction to this book, Godwin&nbsp; </span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">"…registers the long prospects, low curves, abrupt escarpments of the Pennines…".</span></i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> The work also shows how the Industrial Revolution has shaped the landscape of the Calder Valley as in the photograph of </span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Colne, Lancashire 1970.<o:p></o:p></span></i></span></div><div class="MsoNormal" style="text-align: center;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i>Colne Lancashire 1970</i></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_C1f_61nnzDo/TT0utPwFAGI/AAAAAAAAAU8/4hJk9WIKAyU/s1600/Colne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="http://4.bp.blogspot.com/_C1f_61nnzDo/TT0utPwFAGI/AAAAAAAAAU8/4hJk9WIKAyU/s320/Colne.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></i></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">'Land Revisited' shows many of the original prints from the 'Land' exhibition of 1985. Britain is represented as a place of standing stones, ruined castles and industrial relics - a mysterious place of broad vistas moody skies with desolate and threatening landscapes.</span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Seeing the original prints was a revelation. The tonal range and detail are just perfect. It is clear that Godwin placed great importance on the printing process. 'Land Revisited' also had some of her contact prints and notebooks giving her directions for printing on display, along with excerpts from the 1986 South Bank Show. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Godwin was tenacious when going after a photograph. The video footage shows her working in the field. From this it is clear that she revisited locations on many occasions to seek out the perfect light and climatic conditions and that once at a location she would spend a great deal of time with a handheld viewfinder searching for just the right composition. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">In my view the emotional depth of her black and white landscapes is created by a combination of factors: her photographic skills - use of composition, tone, rhythm and harmony; her tenacity in waiting for just the right time and in particular the right light; and her choice of subject matter - mythic landscapes echoing ancient times. <o:p></o:p></span></span><br /><div style="text-align: center;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i>Path and Resevoir Lumbutts Yorkshire 1977</i></span></span></div></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TT0vieDBNfI/AAAAAAAAAVA/jSBuizaLMRM/s1600/Lumbutts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TT0vieDBNfI/AAAAAAAAAVA/jSBuizaLMRM/s320/Lumbutts.jpg" width="319" /></a></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">These elements are illustrated clearly in the photograph </span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Path and Reservoir, Lumbutts, Yorkshire, 1977.</span></i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> The path leads the eye into the picture from the bottom left, a stone wall picks up the path and leads to the reservoir. The reservoir is highlighted, the path and surrounding grass are of medium tone, and the surrounding hills are dark, as is the sky, other than a sunburst on the horizon. This image has a strong composition, makes excellent use of light and depicts a subject showing the influence of man on the landscape and the power and beauty of nature.</span><br /><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Curiously in 'Land' Godwin excluded humans completely from her photographs.&nbsp; However, as one follows the sequence of the book and head south from the remote glens of Scotland to the more populated southern counties of England the intervention of humans on the landscape becomes increasingly apparent. Towards the end of the book Godwin includes images such as one of an abandoned car rising from a lagoon, which might be seen as a warning shot of what was to come in 'Our Forbidden Land'.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The photographs in 'Our Forbidden Land' retain all of the power and technical strength of her earlier work but are also overtly documentary in nature.&nbsp; They tackle a wide range of issues including:<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">·</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The adverse effects of overusing pesticides and fertilizers,&nbsp; <o:p></o:p></span></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">·</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The pollution of waterways, lakes and rivers, <o:p></o:p></span></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">·</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The restrictions on access to land being imposed by farmers, the Forestry Commission, Water privatization, and MOD acquisition, <o:p></o:p></span></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">·</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Inadequate transport planning with the consequent overuse of cars,<o:p></o:p></span></span></div><div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">·</span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Over-marketing of our national heritage, and restricting access to photographers with limited resources to locations such as Stonehenge.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">For the first time Godwin was both writer and photographer. Her strong politics and sympathies on the issues are clearly articulated. I was particularly taken by the way she invites the reader to admire and wonder at the British landscape by presenting a photograph of great beauty, and then reveals with another photograph on an nearby page how it is being abused. Here are two such images of the Scottish highlands:<o:p></o:p></span></span><br /><div style="text-align: center;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i>Meall Mor Glencoe 1988</i></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_C1f_61nnzDo/TT0wCFoeSVI/AAAAAAAAAVE/zzRKhF2j9Uw/s1600/Meall+Mor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="http://1.bp.blogspot.com/_C1f_61nnzDo/TT0wCFoeSVI/AAAAAAAAAVE/zzRKhF2j9Uw/s320/Meall+Mor.jpg" width="320" /></a></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">&nbsp;Stob dubh Glen Etive Glencoe 1988</span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_C1f_61nnzDo/TT0wChLguvI/AAAAAAAAAVI/poROoGirokU/s1600/Stob+Dubh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/_C1f_61nnzDo/TT0wChLguvI/AAAAAAAAAVI/poROoGirokU/s320/Stob+Dubh.jpg" width="315" /></a></div><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Godwin maintained the momentum of her crusade with a further book, five years later, titled 'On the Edge of the Land', in which she explored the environmental, economic and social issues facing Britain's coastal regions.</span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">During the late 80's Godwin had been able to explore colour photography during her fellowship with the National Museum of Photography in Bradford. She had created a significant body of documentary work at that time. By the 90's she had begun to use colour in some of her landscapes. Her colour work in Bradford seems to have been the genesis of this but also in 1979/80 she had started taking small colour photographs of gardens with a Polaroid sx70 camera. These experiments were to bear full fruit in her later work in 'Glassworks and Secret Lives'. <o:p></o:p></span></span><br /><div style="text-align: center;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i>Untitled from Pioneer Glassworks 1989</i></span></span></div></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_C1f_61nnzDo/TT0wgFd5GOI/AAAAAAAAAVM/Nz2vKDb_Nj8/s1600/pioneer2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_C1f_61nnzDo/TT0wgFd5GOI/AAAAAAAAAVM/Nz2vKDb_Nj8/s320/pioneer2.jpg" width="214" /></a></div><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The photographs in 'Glassworks and Secret Lives' are intimate landscapes in colour. They are characterized by the use of soft or differential focus with layers of intervening glass, plastic, netting and such like adding to the intrigue and mystery. </span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Untitled, from Pioneer Glassworks, 1989 </span></i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">is&nbsp; an example .<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Throughout her photographic career Godwin maintained a sense of humour and was often drawn to images that she called 'Snapshots'. These were amusing images often taken in the landscape. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Simon Roberts, one of Britain's best known photographers today has said of her work:&nbsp; </span><i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">"While I appreciate Godwin’s landscape photographs, the images I’m really drawn to are those which present a dry humour and, much like Tony Ray Jones, a keen eye for the quietly absurd."</span></i><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">&nbsp;</span></span><br /><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Leaping Lurcher, 1972 </span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">is one of her best-remembered 'Snapshots'.<o:p></o:p></span></span><br /><div style="text-align: center;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i>Leaping Lurcher 1972</i></span></span></div></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_C1f_61nnzDo/TT0wwLfmvuI/AAAAAAAAAVQ/XEsPkOwDEAg/s1600/lurcher.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/_C1f_61nnzDo/TT0wwLfmvuI/AAAAAAAAAVQ/XEsPkOwDEAg/s320/lurcher.jpg" width="320" /></a></div><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div><div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;"><br /></div>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-85642242901460995802011-01-23T18:15:00.007+00:002011-01-24T08:16:38.787+00:00Photography Criticism, Post Modernism and Landscape Photography<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">During the bad weather I have also been spending some time reading into photographic criticism. I must admit that it is pretty heavy going. I have read widely but not understood everything I have read...my quest will continue and I now feel that I am beginning at least to understand some of the underlying issues arising from modern photographic criticism. My library has been extended with seminal works such as Ways of Seeing by John Berger, On Photography by Susan Sontag and compilations of essays by Liz Wells, Robert Adams and Andy Grundberg.</span></span><br /><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span><br /><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">There has been a marked change in Art Photography over the last 30 years with the emergence of post-modernist ideas. These developments have been underpinned by critical philosophical thinking and the theories of semiotics. These ideas have also been felt in the approaches to documentary work and landscape also. I have much further reading thinking and absorbing to do, but I thought I would make a start by looking at the work of a couple of post-modern Landscape photographers. It is interesting to note that in her documentary landscape work for Our Forbidden Land and The Edge of the Land, Fay Godwin's work might be regarded as post-modern. Her emphasis on presenting the abuse of the landscape in a factual manner with the minimum of artifice, and her inclusion of text alongside to direct the thinking of the viewers to the concepts she was conveying are both in line with post-modern thinking, which places greater emphasis on concepts than on aesthetic beauty.</span></span><br /><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span><br /><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">My first photographer in this brief review is Jem Southam. &nbsp;</span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Southam (born Bristol 1950) is one of the UK's leading photographers. He is renowned for his series of colour landscape photographs, beginning in the 1970s and continuing until the present. His trademark is the patient observation of changes at a single location over many months or years.&nbsp;His subjects are predominately situated in the south west of England where he lives and works. He observes the balance between nature and man's intervention and traces cycles of decay and renewal. His work combines topographical observation with other references: personal, cultural, political, scientific, literary and psychological. &nbsp;He uses&nbsp;</span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">a large format camera to produce 8 x 10 inch (20.5 x 25.5 cm) negatives that record a high level of detail. Here is an image from&nbsp;</span></span><span class="Apple-style-span" style="color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">&nbsp;</span></span></span><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">a series called “Rockfalls”, Southam photographed a section of coastline of Normandy in northern France where dramatic cliffs change shape daily.</span></span></span><br /><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></span><br /><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 16px;"></span></span></span><br /><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;"></span></span><br /><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_C1f_61nnzDo/TT00FkZk0dI/AAAAAAAAAVY/J_VNxrSjgCo/s1600/Jem+southam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/_C1f_61nnzDo/TT00FkZk0dI/AAAAAAAAAVY/J_VNxrSjgCo/s400/Jem+southam.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><br /><div><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span></div><div><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">As can be seen from this brief introduction Southam's work extends well beyond those of aesthetic beauty &nbsp;and the sublime which concern much of the work of photographers I have reviewed so far in this blog.&nbsp;</span></span></div><div><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span></div><div><span class="Apple-style-span" style="background-color: transparent;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The second photographer I have considered is John Kippin. Kippin is an artist and photographer who lives and works in the North East of England. He works largely within the context of landscape. His work challenges the realist paradigm which traditionally underpins such work. Here is an example of a work by Kippin.</span></span></span><br /><span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="background-color: transparent;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></span></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_C1f_61nnzDo/TT0ztuMpgRI/AAAAAAAAAVU/lCYJ3yb05Cc/s1600/nationality.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="http://1.bp.blogspot.com/_C1f_61nnzDo/TT0ztuMpgRI/AAAAAAAAAVU/lCYJ3yb05Cc/s400/nationality.jpg" width="400" /></a></div><span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="background-color: transparent;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></span></span></div><div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">Without the text this image looks like a pretty sunset....a bit of a cliche perhaps but not a bad effort. However inclusion of the text is like pushing the stop button...what is he trying to convey. My own interpretaion of this is that he is saying that the coast of our land is a metaphor for our nationality. With this interpretation the image takes on a whole new meaning and significance and prompts the viewer to reconsider stereotypical and simplistic interpretations of landscape photographs.&nbsp;</span></div><div><span class="Apple-style-span" style="line-height: 14px;"></span><br /><span class="Apple-style-span" style="line-height: 14px;"><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Here is a second image by Kippin.&nbsp;</span></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_C1f_61nnzDo/TT01K-tySrI/AAAAAAAAAVc/N2hLdMMRbcU/s1600/pilgrims_stonehenge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="http://4.bp.blogspot.com/_C1f_61nnzDo/TT01K-tySrI/AAAAAAAAAVc/N2hLdMMRbcU/s400/pilgrims_stonehenge.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">In this image the rhyme of the tourists with umbrellas and the stones of the henge is amusing, but the message goes I feel much deeper. It is a comment on how our national heritage is now part of a media circus within contemporary culture.&nbsp;</span></div></span></div><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"></span><br /><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">These two photographers and indeed others I have recently been reviewing have challenged my preconceived and perhaps 'romantic' ideas about landscape photography. I plan to include a specific review of English photographer John Davies and American Robert Adams in my work for Project 36 Defining a Style - both of these photographers</span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">&nbsp;</span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">make photographs in a deliberately un-sensational and often understated way to allow the viewer to draw their own conclusions on the issues they are seeking to address. What was also very interesting for me was that many contemporary photographers cite Walker Evans as an influence. His style was a forerunner of the understated approach that is often seen today. This approach seeks to avoid the photographers &nbsp;own voice clouding the issues that are being depicted.....Evans called it his Documentary Style.</span></span></div></span>Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0tag:blogger.com,1999:blog-2142938513049734551.post-57904345124531453542011-01-23T16:51:00.000+00:002011-01-23T16:51:13.573+00:00Forthcoming Trip to LanzaroteI am off to Lanzarote in a few days time and am taking my camera with the expectation of completing a few of my outstanding projects. I plan to complete projects 26 and 27 which are about shooting the moon and by the light of the moon and also project 34 and project 35 which are about using graduated and polarising filters. I will then be in a position to move onto the final section of the course which deals with Styles and Themes.Keith Greenough LRPShttp://www.blogger.com/profile/11159981624908911476noreply@blogger.com0